The Mythopoeic Awards are divided into four categories, two for fiction, and two for scholarship:
The Mythopoeic Fantasy Award for Adult Literature is given to the fantasy novel, multi-volume novel, or single-author story collection for adults published during the previous year that best exemplifies “the spirit of the Inklings”.
The Mythopoeic Fantasy Award for Children’s Literature honors books for beginning readers to age thirteen, in the tradition of The Hobbit or The Chronicles of Narnia.
The Mythopoeic Scholarship Award in Inklings Studies is given to books on J.R.R. Tolkien, C.S. Lewis, and/or Charles Williams that make significant contributions to Inklings scholarship.
The Mythopoeic Scholarship Award in Myth and Fantasy Studies is given to scholarly books on other specific authors in the Inklings tradition, or to more general works on the genres of myth and fantasy.
I am in really excellent company, alongside books by colleagues Farah Mendlesohn and Mark J.P. Wolf. I actually contributed two entries in Wolf’s edited collection in this shortlist: one on Tolkien’s Arda, and one (co-authored with Andrew Higgins) on Invented Languages.
The winners of this year’s awards will be announced during Mythcon 49, to be held July 20-23, 2018, in Atlanta, Georgia.
Well, my new book (third book, but second monograph) is due to appear in the new year from Palgrave Macmillan. It is titled Celtic Myth in Contemporary Children’s Fantasy: Idealization, Identity, Ideology and it explores the creative uses of ‘Celtic’ myth (mainly focusing on Irish and Welsh medieval texts) in modern fantasy for children and young adults. Chronologically I begin from the 1960s, with novels such as Alan Garner’s The Owl Service(1967), and end with very recent examples, including Kate Thompson’s The New Policeman (2005), and Catherine Fisher’s Darkhenge (2005).
But the chapters of my book are thematic, rather than chronological, looking at the Irish ‘mythological’ cycle, the Táin, and the Fenian tradition, before turning to the Mabinogion, the Welsh Triads and the “Arthur of the Welsh”. Today’s entry is the beginning of a series of blog posts on motifs, ideas and research tit-bits that didn’t make it into the book, alongside some introductory material on my selected authors, some of whom my readers will know well, while others they may want to find out more about.
That Prydain is based on Wales, not only in terms of its geography and nomenclature, but also in terms of its mythology and storylines, is no secret: Lloyd Alexander was fascinated by the Mabinogion, enhanced by his posting to Wales during WWII. He spoke admiringly about Wales and Welsh legend in numerous articles and interviews, and was equally fascinated by Lady Charlottes Guest’s notes, as with her 19th-century translation of the Mabinogion.
Although Lloyd Alexander is often included in children’s literature courses (more so in the USA) and his fantasy world of Prydain has attracted its fair share of scholarship, I wouldn’t be surprised if there is a fresh wave of research into his work in the next few years, especially as there are murmurs about a possible new film adaptation of the Chronicles (Disney’s 1985 film The Black Cauldron was a pretty loose adaptation of The Book of Three and The Black Cauldron, the first two fantasy novels in the Chronicles). I have, therefore, put together my version of a “beginner’s guide” to researching Lloyd Alexander, with a focus on Prydain.
To begin at the beginning, every good research project on Lloyd Alexander needs to understand the author, his time, his childhood experiences and growing up process, the circumstances that led him to writing for children (which wasn’t at all what he had originally intended) and the complexities of his engagement with Welsh legend.
The former is the more recent book, made up of a brief biography of Alexander (37 pages) and devoting the bulk of its contents to an extensive bibliography of Alexander’s own works and to works of criticism on Alexander’s fiction. The biography we get in this book takes us to the 1990s, but Jacobs’s 1978 dissertation, despite stopping at an earlier point, is the superior biographical study, offering over 300 pages of double-spaced typed pages on Alexander’s childhood, formative years, first literary endeavours and road to success as a children’s fantasist. On the other hand, the bibliography in the Jacobs and Tunnell book is superior to the one that appears in Jacobs’s dissertation, mainly because of the systematic listing of secondary sources on Alexander’s work.
The two books, therefore, complement each other really well. The 1978 dissertation will tell you about Alexander’s “eat and read” programme (this is such a good idea I ought to do a separate blog post on it!), about his struggle to find his calling, about his war experience, and his involvement with translating into English some of the works of giants of the Parisian high-brow literary scene of the 1950s and 1960s (such as Paul Éluard and Jean-Paul Sartre). It will take you through his first, abortive, effort to write an “enormous novel of social realism” along the lines of Balzac, and his eventual acceptance of writing as a craft, which became exciting again when he struck upon the idea of Time Cat, a book about a cat who time-travels to live his “nine lives”, taking his boy-owner along for the journey. It chronicles the birth of the idea of the Chronicles of Prydain in minute detail, with appendices that include Alexander’s first written proposal for the series to his publishers (plus his outlines for each volume), as well as correspondence with his editor over many years, Anne Durell. The 1991 book, on the other hand, will give you a much wider picture of Alexander’s entire oeuvre (he remained a prolific writer throughout his life, though the Chronicles of Prydain remain his most popular series of books) and will get you started on what has already been done/said/argued about his creative work (at least up to the 1990s).
Another gentle way to begin this journey of researching Alexander’s biographical background, is to watch Jared Crossley’s documentary Lloyd Alexander (2015), now available online, which features both Jacobs and Tunnell, and includes – of course – extensive footage of Lloyd Alexander himself.
The next absolutely indispensable resource on Alexander’s Prydain, is Michael O. Tunnell’s The Prydain Companion: A Reference Guide to Lloyd Alexander’s Prydain Chronicles (Henry Holt and Co., first published in 1989, revised in 2003). This is a comprehensive glossary/dictionary of every single character, place-name, object, or motif, in the entire Chronicles, including The Foundling and Other Tales of Prydain.
Tunnell takes us through the secondary world ‘infrastructures’ Alexander invented for his Prydain, from Achren (the female villain of the series) to Ystrad (the river that runs through Prydain), reminding us of plotlines, genealogies, obscure references, places and peoples. In many entries he quotes liberally from Alexander’s letters, essays, and also from the private interviews he had with the author. In addition, he also references Alexander’s Welsh sources, citing Lady Guest’s translation of the Mabinogion, Robert Graves’s The White Goddess, and even Edward ‘Celtic’ Davies’s Mythology and Rites of British Druids, where appropriate. This is, therefore, a doubly useful book for anyone researching Prydain, not just a quick reference for any of the countless names one may need a reminder about, but also as a first introduction to the kind of Welsh sources Alexander used, and they ways he engaged with them. Chapter 4 of my book, “Lloyd Alexander’s The Chronicles of Prydain: Building Fantasy upon Forgery”, problematizes these sources and focuses on the constructedness of ‘Celticity’ in Alexander’s work, but Tunnell’s book is still a great place to start.
I am not going to attempt an exhaustive bibliography of “main” critical work on Prydain, but I am offering you below a list of books (specifying chapters) and journal articles that were very useful when researching my own chapter on Alexander’s use of ‘Celtic’, especially Welsh, medieval literature and legend:
I am hoping that Chapter 4 of my forthcoming monograph will be a worthy addition to this list (especially as it takes issue with some of these sources too!).
From this point on, I am adding a few more resources that cannot really be claimed to be in the “beginners” category. One is most definitely “advanced”, while the other is within the realm of reception and adaptation. But they are both worth knowing about!
Being a scholar who has enjoyed archival research (working with J.R.R. Tolkien’s manuscripts, primarily) and have found it very fruitful, I went looking for Alexander’s papers, and was very pleased to find out that they are in a public institution and accessible to scholars and researchers. For those lucky people who can easily travel to the Free Library of Philadelphia, Alexander’s papers are now held there as part of their Children’s Literature Research Collection. Here’s a link to the collection inventory. I visited this archive only vicariously, through my brilliant research assistant, Katherine Sas, and was very lucky to read the very first draft of The Book of Three, and explore other bits and pieces. Some of Lloyd Alexander’s handwritten notes and drawings are available online via the collection’s website, such as this map of Prydain (which will be reproduced in my book) and this delightful and whimsical letter by Alexander to his editor’s cat!
Last but not least, I have been following (and found a pleasure to watch unfolding)a fan adaptation of the first book of theChronicles,The Book of Three, as a graphic novel. The artist, Dawn Davidson, has been gradually retelling the story of Taran, Gwydion, Eilonwy, and all of other beloved characters from the opening volume of the Prydain saga. She has just reached the point in which Taran and Eilonwy find the enchanted sword Dyrnwyn in the secret passages beneath Spiral Castle. You can follow her on Facebook too, where she posts each new page as soon as it’s done.
*Jacobs’s dissertation should be accessible via Inter-Library Loan or via ProQuest.
Having a nearly three-year-old means that I’m always attuned to what’s new on CBeebies and, naturally, there’s a lot of bespoke Christmas entertainment this time of the year, including the ever-popular Christmas panto. Last year it was Peter Pan, the year before it was A Christmas Carol, while this year, so appositely on the 150th anniversary of Lewis Carrol’s celebrated children’s classic, it was Alice in Wonderland.
Of course, these pantos are adapted for the target audience of CBeebies, i.e. toddlers and very young children under 6, so one expects a simplified storyline, and favourite CBeebies presenters and characters to make an appearance (I suppose the episodic nature of Carroll’s narrative helped a lot with the latter). So this year the very talented Cat Sandion was a refreshingly non-blonde and rosy-cheeked Alice, CBeebies favourite Andy Day impersonated the iconic Mad Hatter, while Justin Fletcher – justly dubbed “CBeebies royalty” – was a hilarious Queen of Hearts. There were other great casting choices including the “naughty pirates” trio from Swashbuckle, Captain Sinker, Cook and Line, now transformed into the Duchess, Cook (naturally) and a hilariously oversized Baby.
What was very different from Lewis Carroll’s Alice was the emphasis of this panto on imagination and make-believe. The first scene presented Alice and her entire family (not just her older sister as in the book) having a picnic by the riverside. Alice, dressed in the recognisable blue pinafore dress popularised by the Disney adaptation, declares that: “I don’t have any imagination… I can’t make-believe at all…” Her family endeavour to convince her otherwise, pointing to possible mundane things that can become magical in their opening song: the rabbits in the field, the father’s pack of cards, or a caterpillar (of course prefiguring some of the best-known scenes in the book). And sure enough, the white rabbit appears, prompting Alice to follow him down the rabbit hole.
Alice becomes huge and then very small via some clever stage magic, meets the caterpillar (very nicely played by the newest CBeebies presenter Ben Faulks) and the Duchess and co., talks to the Cheshire Cat (again, very clever staging here!) and plays a variation of “musical chairs” with the Mad Hatter, the Hare and the Doormouse. And it’s at that point that she suddenly realises that she can create things by just imagining them (though I have to say that the make-believe food at the party reminded me more of Peter Pan than Alice). By the time she reaches the Queen’s party she can imagine and create a lifetime’s supply of jam tarts to save her family from the Queen’s wrath. So instead of having a vivid dream that can be sometimes weird, somewhat disturbing and definitely a little scary at times, this Alice and her family create and navigate their own Wonderland, which makes this narrative more of a journey towards appreciating the power of imagination as the proper domain of children (a staple characteristic of the ‘Romantic child’ still with us today) than a journey into the unconscious or towards maturity, as Carroll’s text has been often read. Perhaps this is the result of the educational role of CBeebies: tellingly, the producer, Jon Hancock, noted that:
there’s also a beautiful message we’re bringing out of the story that I hope will inspire parents and children – to have fun with your imagination, and for parents to really invest and partake in imaginary play with their children.
The panto did invite some audience interaction – as one would expect – by having children wear rabbit ears, and “explained away” or eliminated some of the most disturbing elements of the book (the scene that used to scare me as a child was the Duchess’s baby turning into a piglet but here the baby just wears a pig’s snout and says that he has “dressed up” for the party).
Overall this panto was completely within the tradition of previous CBeebies shows, full of colour, catchy songs (I’m still humming “Use your imagination…”) and excellent staging (it was recorded at the Wales Millennium Centre at Cardiff Bay). It managed to incorporate CBeebies characters, showcase the talented CBeebies presenters and introduce young children to a story they will read and watch many times in the future in numerous adaptations. Yes, perhaps the main theme of the story was altered to suit the needs of the CBeebies agenda, but that’s what adaptation is all about: “repetition with variation”, as Linda Hutcheon has shown.
If you missed it, you can watch the CBeebies Alice in Wonderlandhere